As one critic said in 1928, when reviewing Fortune-'s exhibition at the Hotel Del Monte art gallery,
She's too modern for stand-pat conservatives and too like nature for doctrinaire moderns. This Santa Barbara scene, with its flattened shapes, expressive color, and odd perspective, along with the spirited play of light and shadow, reflects these two trends. It was painted upon Fortune's return from Europe and is considered to be her last known landscape painting, before her inexplicable turn to liturgical work.
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